MUSEUM  OF  FINE  ARTS 
BOSTON 

Decorations  of  the  Dome  of 
the  Rotunda 
By  John  Singer  Sargent 


A GENERAL  DESCRIFFION 

AND 

THE  DECORATIONS  IN  DETAIL 


At  the  request  oj  the  Museum  Mr.  Thomas  A.  Fox, 
arckiteet,  who  assisted  Mr.  Sargent  in  the  installa- 
tion of  the  decorations,  has  kindlg  prepared  the  fol- 
loieing  description  of  the  U'orh.  The  Museum  is 
greatly  indebted  to  M r.  Fox  for  the  permission  to 
offer  the,se  pages  to  its  t'isitors. 


MUSEUM  OF  FINE  ARTS,  BOSTON 


Decorations  of  the  Dome  of  the 
Rotunda 

By  John  Singer  Sargent 

GENERAL  DESCRIPTION 

The  Rotunda  is  elli|)tical  in  plan,  with  the  longer  diam- 
eter or  axis  in  a line  with  the  approach  from  the  main  stair- 
way. Directly  in  front  of  this  is  a recess  and  door  to  the 
Tapestry  Room.  On  the  shorter  diameter  or  axis  are  two 
larger  recesses,  beyond  which  on  the  left  is  the  door  to  the 
Chinese  and  Japanese  (Galleries  and  on  the  right  that  to 
the  Egyptian  (Galleries.  The  walls  between  the  entrance 
from  the  stairway  and  the  recesses  and  between  the  re- 
cesses themselves  form  four  wide  piers  with  a j)ilaster  at 
each  corner.  There  are  niches  in  the  two  piers  o{)posite  the 
stairway;  in  that  on  the  left  is  a cast  of  the  Venus  of  the 
Capitoline  Museum  at  Rome;  on  the  right  a cast  of  the 
Minerva  (iiustiniani  of  the  Vatican.  In  each  of  the  recesses 
are  two  Ionic  columns  and  over  them  the  main  cornice 
which  is  carried  around  the  entire  Rotunda.  Over  the 
cornice  in  the  reces.ses  is  a balustrade  with  pede.stals;  that 
in  the  smaller  recess  is  surmounted  by  a vase  with  a griffin 
on  each  side.  Each  of  the  two  j^edestals  in  the  larger  re- 
cesses support  a vase  of  Greek  form. 

The  surface  of  the  dome  it.self  is  pierced  over  the  en- 
trance from  the  stairway  and  also  over  each  recess  by  a 
semicircular  penetration,  or  opening,  and  at  the  top  by  an 
opening  elli{)tical  in  shape  through  which  come  both  the 
natural  and  artificial  light  of  the  Rotunda. 

[3] 


The  four  piers  are  extended,  or  carried  up,  from  the  top 
of  the  cornice  to  a band  around  the  ceiling  opening  in  a 
form  which  was  known  in  the  development  of  the  work  as 
ribbed  panels,  formed  by  a centre  surface  bounded  by  a 
rib  on  each  side,  which  are  connected  over  the  semicircular 
openings  by  a band  or  surface  about  corresponding  in 
width  and  technically  known  as  an  archivolt. 

Each  of  the  ribbed  panels  has  near  the  base  a pedi- 
mented  frame  enclosing  a bas-relief,  above  which  are 
figures  also  in  relief.  Over  these  is  a circular  frame  enclos- 
ing a painted  comjmsition  and  supporting  a relief  of  two 
boys  with  a shield  and  drapery. 

Above  the  semicircular  penetrations  of  the  dome  be- 
tween the  ril)bed  panels  are  four  elliptical  surfaces  with 
moulded  frames,  straight  from  top  to  bottom  but  curved 
horizontally.  The  one  opposite  the  entrance  is  accented  at 
the  bottom  with  two  boys  modelled  in  practically  full  re- 
lief, on  each  side  of  an  inscribed  j)anel,  and  there  is  a 
similar  panel  without  sculpture  over  the  arch  of  the  en- 
trance from  the  main  stairway. 

Beginning  with  the  ribbed  panel  on  the  left  of  the  en- 
trance from  the  stairway  and  turning  from  left  to  right, 
the  subjects  of  the  compositions  in  the  pedimented  frames 
are  as  follows: 

(1 ) Cupid  and  Psyche. 

(2)  Dancing  Figures. 

(,‘})  The  Three  (iraces. 

(4)  ^"enus  and  Cupid. 

I'he  reliefs  above  the  pedimented  frames  in  the  order 
given  above  are: 

(5)  Fame. 

(())  Satyr  and  iMaenad. 

(7)  Arion. 

(8)  Education  of  Achilles. 

[-^] 


The  painted  compositions  in  the  circular  frames  in  the 
order  given  above  are: 

({))  Ganymede. 

(10)  ]\Iusic. 

(11)  Astronomy. 

(T2)  Prometheus. 

At  the  top  of  each  of  the  four  ribbed  panels  is  a relief  of 
two  boys  with  a shield  and  drapery  which,  although  ap- 
pearing at  first  to  be  the  .same  design,  are  of  quite  different 
composition  and  detail. 

The  subjects  of  the  painted  compositions  in  the  large 
elliptical  frames  beginning  on  the  left  of  the  entrance  are: 

(13)  Apollo  and  the  M uses. 

(14)  Figures  representing  the  Arts  (Architecture, 

Scailpture  and  Painting)  protected  from  the 
ravages  of  Time  by  Minerva. 

(15)  Classic  and  Romantic  Art.  Apollo  in  the 

centre  is  seen  in  the  attitude  of  a judge  half 
.seated  on  a tripod.  Classic  Art  is  repre- 
sented as  a female  figure  under  the  tutelage 
of  Minerva,  the  Goddess  of  Wi.sdom.  Ro- 
mantic Art,  a youth,  is  singing  under  the 
guidance  of  Pan,  the  god  of  shepherds  and 
their  flocks  and  pastures.  Pan  is  repre- 
sented in  the  traditional  form,  having  the 
head  and  body  of  a man  with  his  thighs 
like  those  of  a goat,  of  which  animal  he  also 
bore,  as  here,  the  horns  and  ears. 

(^1(5)  The  Sphinx  and  the  Chimaera. 

The  commission  for  the  work  was  given  to  ^Nlr.  Sargent 
by  the  Trustees  early  in  November,  1!)1(),  and  the  material 
execution  of  the  work  was  carried  on  in  three  periods,  with 
intermissions. 


The  first  was  from  the  date  above  to  the  end  of  ^lay, 
1918,  during  which  time  the  general  scheme  was  developed 
and  worked  out  on  the  model,  and  small-scale  studies  were 
practically  completed.  About  this  time  the  work  at  the 
Museum  was  carried  to  a })oint  where  the  plain  surfaces  of 
the  dome  were  made  ready  to  receive  the  mouldings,  en- 
richments, bas-reliefs,  and  the  ])ainted  decorations.  Dur- 
ing the  second  period,  from  about  the  first  of  May,  1919, 
until  about  the  first  of  July,  Ul'iO,  all  the  l)as-reliefs  were 
modelled  in  full  size,  east,  and  put  in  place,  the  frames 
made,  moiddings  run,  and  enrichments  applied.  In  the 
third  and  last  period,  from  the  middle  of  February,  19‘21, 
to  the  twentieth  of  October,  1921,  when  the  work  was  un- 
veiled, the  four  circular  panels  and  the  large  elliptical 
panels  were  painted  on  canvas,  put  in  place,  and  the  gen- 
eral painting  and  gilding  was  completed. 

Mr.  Sargent  seemed  to  feel  from  the  first  that  the  Ro- 
tunda called  for  a sculj)tural  rather  than  a j)ictorial  char- 
acter of  decoration,  and  it  was  his  original  intention,  as 
can  be  seen  from  the  model  on  which  all  the  work  was 
studied,  to  do  the  four  large  elliptical  panels  in  relief  as 
well  as  color.  He  found,  however,  by  a careful  observation 
of  the  lighting  both  in  the  model  and  the  building  itself, 
that  there  was  not  enough  direct  light  on  the  elliptical 
panels  to  justify  the  use  of  the  third  dimension,  as  the 
modelling  of  the  upper  parts  would  be  invisible;  so  he  aban- 
doned his  first  intention,  and  these  panels  were  conse- 
cpiently  painted,  and  the  bas-relief  treatment  was  reserved 
for  those  parts  of  the  dome  receiving  more  direct  light. 

F'or  the  benefit  of  those  who  must  unfortunately  deriv’e 
their  imj)ressions  of  the  work  from  reproductions  rather 
than  by  the  study  of  the  decoration  itself,  it  should  be  .said 
that  the  bas-reliefs,  mouldings  and  plain  surfaces  of  the 
dome  are  white;  the  balustrades,  cornice,  and  walls  below 
being  slightly  darker  in  value.  The  shields  at  the  toj)  of 

[<i] 


the  ribbed  panels,  the  griffins,  and  most  of  the  detail  of  the 
frames  are  gilded.  The  vase  between  the  griffins  is  blue. 
The  background  of  the  pedimented  frames  is  slightly 
toned  with  a light  warm  gray.  The  drapery  of  the  dancing 
figures  and  that  of  the  boys  with  shields  is  yellow.  The 
background  of  all  the  painted  panels  is  blue  and  the  pre- 
dominant color  of  the  draperies  a golden  tone.  The  effect 
of  age  on  the  surfaces  and  compositions  has  in  no  way  been 
suggested,  so  the  many  pleasing  results  of  it  will  be  ac- 
quired naturally  and  not  have  been  anticipated  by  arti- 
ficial methods. 

It  is  important  to  record  the  fact  that  all  the  modelling, 
not  only  of  the  compositions  themselves  but  of  the  details, 
as  well  as  all  the  painting  of  the  canvases,  was  actually 
done  by  the  artist  himself  without  the  usual  and  supple- 
mentary aid  of  assistants. 

Thomas  A.  Fox 


October,  1922 


Eros  and  Psyche 


Dancing  Figcres 


Copyright,  1941,  by  the  Museum  of  Fine  Arts,  Boston,  Massachusetts 


MUSEUM  OF  FINE  ARTS,  BOSTON 

DECORATIONS  OF  THE  DOME  OF  THE 
ROTUNDA 

By  JOHN  SINGER  SARGENT 

( 1 ) * Eros  (Cupid)  and  Psyche.  Mithin  a circular  peri- 
style, Psyche  kneels  on  one  knee  beside  her  couch,  lifting 
her  wings  and  spreading  her  arms  to  meet  Eros  floating 
head-first  toward  her,  one  hand  already  about  her  bosom, 
the  other  beneath  her  chin  and  turning  her  face  to  his.  At 
her  side  stands  a lamp  on  a high  |)edestal. 

Below  the  capitals  of  the  two  pilasters,  are  the  faces  of 
veiled  nymphs. 

* The  numbers  follow  those  used  in  the  General  Description  on  pages  ■i—5 
of  this  pamphlet. 


I 


I 

,1 


[8] 


Aphrodite  and  Eros 


Copyright,  1921,  by  the  Museum  of  Fine  Arts,  Boston,  Massachusetts 

In  Greek  mythology,  the  divine  youth  Eros,  the  attend- 
ant of  Aphrodite,  was  also  the  lover  of  Psyche,  a mortal 
maiden,  daughter  of  a king,  whom  Eros  visited  nightly  and 
who  after  many  trials  was  made  an  immortal  by  Zeus  and 
united  to  Eros  forever.  The  Greek  word  Psyche  signifies 
at  once  the  soul  and  a butterfly;  the  Latin  word  Cupid, 
the  Roman  name  for  Eros,  signifies  desire;  and  the  myth 
has  become  an  allegory  of  the  passage  of  the  soul  from  the 
disappointments  of  earth  to  the  fruitions  of  heaven,  as  a 
butterfly  emerges  from  the  chrysalis  into  the  winged  state. 
In  the  present  relief  Psyche’s  wings  already  foretell  her 
happy  future. 

{'i)  Three  Dancing  Figures.  No  mythological  signifi- 
cance attaches  to  this  relief.  It  is  a composition  repre- 
senting figures  in  motion  as  a pendant  to  the  next  relief 

[9] 


representing  figures  at  rest.  A diaphanous  scarf,  as  long 
as  if  made  for  the  three  at  once,  is  blown  about  them  by 
their  movement  and  with  its  intricate  convolutions  con- 
tributes to  the  unity  of  the  design. 

Below  the  capitals  of  the  two  pilasters,  are  the  heads 
of  satyrs  crowned  with  vine  clusters. 

(3)  The  Three  Graces.  Euphrosyne,  Aglaia,  and  Thalia 
were  daughters  of  the  gods  and  personifications  of  joy  and 
beauty.  Thalia  was  later  regarded  also  as  the  INIuse  of 
Comedy.  Representations  of  the  three  in  company  occur 
from  the  earliest  classical  times;  at  fir.st  draped,  as  in  the 
archaic  relief  in  the  Acropolis  ^Museum  at  Athens;  and 
later  nude,  as  in  the  Greek  group  found  in  a mutilated  con- 
dition in  the  Piazza  Colonna  at  Rome  about  1460  by  Pius 
II  and  since  preserved  in  the  library  of  the  Cathedral  at 
Siena;  and  as  in  the  mural  painting  from  Pompeii  in  the 
National  Museum  at  Naples.  In  both  the  group  and  the 
painting,  and  likewi.se  in  the  picture  by  Raphael  in  the 
Musee  Conde  at  Chantilly  doubtless  inspired  by  the  group, 
the  central  figure  stands  in  the  attitude  of  the  present 
decoration,  with  her  back  to  the  spectator,  and  stretches 
her  arms  across  the  bosoms  of  the  other  two.  In  the  Greek 
group  the  hands  are  mostly  missing,  in  the  Pompeiian  re- 
lief two  Graces  apj)ear  to  carry  flowers  or  fruit,  and  in 
Raphael’s  picture  they  each  hold  an  aj>ple  in  allusion  to 
the  single  apple  whose  award  by  Paris  on  Mount  Ida 
created  the  discord  between  Ilera,  Athena,  and  Aphrodite. 
The  ])resent  decoration  shows  the  figure  on  the  right  hold- 
ing instead  a lyre,  .symbol  of  concord,  above  the  heads 
of  all. 

Below  the  capitals  of  the  two  pilasters,  are  the  faces  of 
veiled  nymphs. 

(4)  Aphrodite  (Venus)  and  Eros  (Cupid).  Aj)hrodite 
was  said  to  have  first  appeared  drifting  ashore  in  sea  foam 
on  the  island  of  Cyprus.  In  allusion  to  her  birth  she  is  here 

[10] 


Fame 


Sattii  and  Maenad 


Copyright,  1921,  by  the  Museum  of  Fine  Arts,  Boston,  Mass.nchusetts 


represented  standing  on  a shell  drawn  by  small  dolphins. 
She  has  long,  flowing  tre.sses  and  holds  aloft  a (juiver,  draw- 
ing from  it  an  arrow,  while  Eros  dying  behind  her  smilingly 
draws  his  bow  to  discharge  another  arrow.  Since  the 
Greeks,  the  pains  of  awakened  love  have  been  called 
wounds  of  Cupid’s  darts. 

Helow  the  capitals  of  the  two  j)ilasters,  are  the  heads  of 
satyrs  crowned  with  vine  clusters. 

(5)  The  Latin  word  “Fama,”  our  word  “fame,”  de- 
rived from  a (ireek  verb  signifying  to  speak,  became  in 
classical  mythology  a name  for  the  per.sonification  of 
Rumor,  or  the  common  rej)ort. 

On  majestic  wings,  her  drapery  blown  about  her,  the 
goddess  dies  abroad  sounding  a trumpet  with  four  bells, 
in  allusion  to  the  four  corners  of  the  earth,  or  four 
(juarters  of  the  globe,  to  which  her  message  is  sent. 

(6)  Satyr  and  ]\Iaenad.  A colossal  satyr  holding  a 
maenad  by  the  waist  on  his  hip,  steps  out  in  a wildly  ath- 
letic dance.  Her  right  leg  droops  relaxed.  With  her  left 
foot  she  partly  sustains  herself  upon  the  satyr’s  thigh,  and 
with  both  hands  holds  aloft  a tambourine.  The  satyr  has 
caught  her  drapery  midway  in  one  hand  and  brandishes 
an  end  of  it  in  the  other. 


[11] 


I'he  satyrs  were  half  animal  sj)irits,  haunters  of  the 
woods  and  mountains.  They  represented  the  genial  luxuri- 
ous life  in  nature  which  under  the  protection  and  with  the 
aid  of  Pan  and  Dionysos  (Bacchus),  spread  over  fields, 
forests,  and  meadows.  In  the  art  of  the  best  period  they 
exhibit  only  such  signs  of  an  animal  form  as  small  goat’s 
horns  and  a small  goat’s  tail,  indicating  that  they  were 
thought  not  far  from  human.  The  life  of  the  satyrs  was 
spent  in  woods  and  hills  in  a constant  round  of  hunting, 
dancing,  music,  gathering  and  pressing  the  grapes,  or  in 
the  company  of  Dionysos  whirling  in  wild  dances  with  the 
maenads,  the  women  attendants  of  the  god,  who  wrought 
themselves  into  a frenzy  at  his  festivals. 

(7)  Arion  and  Dolphins.  Arion  bestrides  one  of  two 
dolphins  (or  porpoises)  swimming  in  company.  He  holds 
on  one  shoulder  a small  stringed  instrument  and  in  the 
other  hand  raises  a short  bow. 

Arion,  in  distinction  from  the  other  figures  represented, 
in  the  decorations,  was  a real,  if  semi-legendary,  per.son. 
He  was  a Greek  lyric  poet  who  flourished  about  6'-25  n.c., 
and  though  his  works  are  lost  he  is  still  remembered  as  the 
hero  of  a myth  told  by  Herodotus  and  embellished  by 
later  writers. 

Besides  being  a poet,  Arion  was  a famous  musician.  On 
his  return  by  ship  from  Sicily,  laden  with  prizes  received 
in  musical  contests,  he  was  condemned  to  death  1)V  the 
sailors,  who  coveted  his  wealth,  but  asked  leave  to  sing  a 
parting  song  to  the  accompaniment  of  his  instrument. 
Having  finished  his  song  he  flung  himself  into  the  sea 
where  dolphins,  charmed  by  his  music,  gathered  around 
and  saved  him.  The  dolj)hin  was  thereafter  translated  to 
the  stars  as  the  ancient  constellation  Delphinus. 

(8)  The  centaur  Chiron  and  his  pupil  Achilles.  Both 
carry  bows,  and  Achilles,  astride  the  centaur’s  back,  leans 
sidewise  to  take  an  aim  like  that  of  his  master.  Both  have 


Copyright,  1951,  by  the  Museum  of  Fine  Arts,  Boston,  Massachusetts 


drawn  their  arrows  to  the  point,  and  Chiron’s  tail  is  elo- 
quent of  his  pedagogic  zeal. 

The  centaurs  were  a race  of  beings  half  man,  half  horse, 
supposed  to  inhabit  the  mountains  now  called  the  Balkans. 
The  early  Greeks  ditl  not  know  the  horse  and  regarded  the 
northern  cavalry  as  one  with  their  mounts.  Centaurs  were 
first  represented  as  men  with  the  haunches  and  hind  legs  of 
a horse  affixed  to  the  back;  later  as  men  only  to  the  waist. 
They  were  lawless,  sensual  beings  with  the  single  exception 
of  Chiron,  who  was  respected  for  his  wisdom  and  was  the 
fabled  teacher  of  many  Greek  heroes.  He  instructed 
Achilles  in  the  arts  of  war,  feeding  him  on  the  inward  parts 
of  lions,  bears,  and  wild  boars.  Chiron  was  accidentally 
wounded  by  a poisoned  arrow  shot  by  Heracles,  and  re- 
nouncing his  immortality  in  favor  of  Prometheus,  was 
placed  by  Zeus  among  the  stars  as  the  constellation  Sagit- 
tarius. 

(9)  Ganymede  and  the  Eagle.  The  eagle  flies  through 
clouds  on  widely  outstretched  wings  while  Ganymede 
hangs  from  his  neck  by  both  arms,  raising  one  hand  in 
terror. 

Ganymede,  the  most  beautiful  of  all  mortals,  the  son  of 
Tros  and  Callirhoe,  and  grandson  of  the  founder  of  Troy, 

[13] 


Ganymede  Music 


Copyright,  1921,  by  the  Museum  of  Fine  Arts,  Boston,  Massachusetts 


was  stolen  away  by  Zeus  in  the  form  of  an  eagle  to  become 
cupbearer  of  the  gods  in  succession  to  Hebe.  Zeus  com- 
pensated Tros  for  his  loss  by  the  gift  of  four  tlivine  horses. 
Ganymede  was  afterward  regarded  as  the  genius  of  the 
Nile  and  identified  with  the  constellation  Aquarius. 

Above  the  frames  of  this  and  the  three  succeeding  panels, 
the  forms  of  two  youths  in  high  relief  are  seated  or  on  their 
knees  in  attitudes  different  in  each  relief,  before  a car- 
touche with  elaliorate  hangings. 

(10)  Music.  Music  is  personified  as  a young  girl  in 
light  drapery  seated  playing  the  violin.  Her  bow  is  poised 
ready  to  strike  the  strings. 

(11)  Astronomy.  Astronomy  is  personified  as  a woman 
nude  to  the  waist,  seated,  with  one  hand  on  her  knee,  the 
sole  of  one  foot  showing  beneath  heavy  drapery.  In  the 
background  a band  representing  the  Zodiac  in  which  the 
emblems  of  the  constellation  Cancer  (the  crab)  and  Pi.sces 
(the  fishes)  can  be  descried  among  other  signs. 

(12)  Prometheus.  Prometheus  lies  half  supine  in  a con- 
torted position,  with  fetters  on  both  ankles  and  his  hands 
fettered  behind  him.  His  left  thigh  serves  as  a perch  for 
one  of  the  vulture’s  claws  and  his  figure  half  disappears 
under  the  double  arch  of  the  great  wings.  The  head  of 

[14] 


Astronomy  Prometheus 


Copyright,  19‘21,  by  the  Museum  of  Fine  Arts,  Hoslon,  Massachusetts 


the  hircl  at  its  meal  looks  out  over  the  right  thigh  of 
the  hero. 

The  story  of  the  punishment  of  Prometheus  is  the  Greek 
version  of  a widespread  myth  about  a hero  from  whom 
mankind  learned  the  use  of  fire.  In  the  trilogy  by  the 
Greek  poet  Aeschylus,  of  which  only  one  drama,  Prome- 
theus Pound,  is  extant,  the  Titan  Prometheus,  whose  name 
means  forethought,  thwarted  the  design  of  Zeus  to  de.stroy 
mankind  and  create  a better  race,  by  stealing  fire  from 
heaven  and  founding  the  useful  arts.  As  a puni.shment 
Zeus  chained  Prometheus  to  a cliff  in  the  Caucasus  where 
his  liver  was  daily  devoured  by  a vulture  and  nightly  grew 
again.  Heracles  finally  slew  the  vulture  by  permission  of 
Zt'us  and  freed  Prometheus,  to  whom  the  wise  centaur 
Chiron  voluntarily  transferred  his  right  to  a place  among 
the  immortals.  Prometheus  has  become  the  personifica- 
tion of  a high-minded  resistance  to  injustice. 

(l.S)  Apollo  and  the  Muses.  Nine  girlish  figures  in 
light  drapery  dance,  barefooted,  hand  in  hand  about  the 
god,  who  stands  on  a pedestal  in  the  centre  and  holds  a 
lyre  on  his  left  hip.  Their  hair  is  bound  simj)ly  with  fillets, 
his  more  elaborately  with  a crowning  knot  as  in  the  famous 
statue  called  the  Apollo  Belvedere.  He  raises  his  right 

[15] 


hand  as  if  directing  a movement  after  striking  the  lyre. 
His  head  is  outlined  against  a bright  circular  disc  like  a 
halo,  bearing  a pattern  of  radiating  lines.  He  is  nude  ex- 
cept for  drapery  knotted  on  his  left  hip. 

The  Muses  were  the  choir  that  sang  under  the  leadership 
of  Apollo  at  the  banquets  of  the  gods.  They  were  originally 
imagined  as  nymphs  of  the  springs  of  Pieria  on  the  north- 
ern slope  of  Olympus,  the  fabled  abode  of  the  gods,  a 
mountain  rising  to  a height  of  nearly  ten  thousand  feet  on 
the  coast  of  the  gulf  of  Saloniki.  Later  they  were  goddes- 
ses of  song  and  later  still  of  all  the  departments  of  letters. 
Calliope  was  the  IVEuse  of  Epic  Poetry,  Euterpe  of  Lyric 
Poetry,  Erato  of  Erotic  Poetry,  ’Melpomene  of  Tragedy, 
Thalia  of  Comedy,  Polyhymnia  of  Sacred  Verse,  Terp- 
sichore of  Choral  Song  and  Dance,  Clio  of  History,  and 
Urania  of  Astronomy.  In  the  present  decoration  they  ap- 
pear without  the  emblems  that  identified  them  to  the 
ancients,  as  a bevy  of  beautiful  girls  in  graceful  move- 
ment. As  their  leader,  Apollo  was  called  “Musagetes”  — 
the  Muses’  guide.  He  was  the  foremost  of  Greek  divinities 
after  Zeus,  a personification  of  light,  physical  and  mental, 
and  of  the  sun;  witness  his  name  Phoebus,  “the  bright 
one,”  witness  also  the  autumn  celebration  of  his  departure, 
and  the  spring  celebration  of  his  return.  The  brilliant  disc 
behind  his  head  in  the  present  decoration  is  emblematic  of 
the  sun  and  its  rays. 

In  each  of  the  corner  panels  below  the  picture,  a 
tragic  and  a comic  mask  in  low  relief  hang  together  by 
ribbons. 

(14)  Architecture,  Painting,  and  Sculpture  jjrotected 
by  Athena  (Minerva)  from  the  Ravages  of  Chronos 
(Time).  Architecture,  represented  as  a stately  woman 
fully  clothed  and  wearing  a hood,  sits  between  figures  re- 
presenting Sculpture  and  Painting  with  an  arm  about 
each.  Sculpture,  a vigorous  youth  nude  to  the  waist, 

[l(i] 


Apollo  and  the  Muses 


Copyright,  1921,  by  the  Museum  of  Fine  Arts,  Boston,  Massachusetts 


[17] 


wearing  a skull  cap  and  carrying  a mallet  and  chisel,  rests 
one  elbow  on  the  thigh  of  Architecture  and  crosses  her 
knee  with  his  own.  Painting,  a superb  young  girl  partly 
clothed  in  a mantle  and  wearing  a hood  from  which  a 
luxuriant  lock  escapes,  carries  a palette  and  brushe’s  and 
rests  her  head  upon  the  shoidder  of  Architecture.  Archi- 
tecture gazes  straight  before  her.  Sculpture  aside  and 
downward  as  if  in  thought.  Painting  out  and  upward  as  if 
at  a haj)])y  vision. 

Athena,  goddess  of  wisdom,  patron  and  protectress  of 
all  the  arts  of  peace,  bends  above  the  three  seated  figures, 
bearing  her  shield  on  her  right  arm  as  her  only  weapon, 
and  stretches  a protecting  and  reassuring  hand  over  them. 
She  wears  a tunic  and  a voluminous  cloak  clasped  at  the 
neck.  Her  helmet  is  crowned  by  three  crested  animal 
forms  — a sphinx  in  the  centre,  and  a winged  hor.se  on 
either  side.  Chronos,  in  rapid  flight  behind  her,  his  scythe 
at  its  furthest  backward  swing,  has  caught  sight  of  the  de- 
fense that  is  to  defeat  his  purpose. 

The  central  position  of  the  figure  of  Architecture  in  the 
group  and  the  support  it  gives  to  the  figures  of  both  Paint- 
ing and  Scul{)ture  are  vividly  emblematic  of  the  real 
historical  and  aesthetic  relation  of  the  three  arts. 

The  panel  furthermore  typifies  the  essential  function  of 
a museum  of  art,  as  the  preserver  of  objects  threatened 
with  destruction,  and  is  appropriately  made  the  focus  of 
the  whole  scheme  of  decoration. 

The  spectator  may  be  ghul  to  be  reminded  also  by  this 
panel  of  the  union  of  architecture,  sculpture,  and  painting 
in  the  decorations  themselves. 

A cartouche  below  Ijears  the  names  of  the  three  arts.  It 
is  supported  by  two  naked  youths  seated,  one  with  a 
wreath  about  his  arm  and  looking  downward,  the  other 
with  a flaming  torch  and  looking  upward.  Above  is  a 
wreath  of  laurel  in  high  relief  entwined  with  palm  leaves; 


[18] 


Arcuitkcture,  Paixtixg,  axd  Sculpture 


Copyright,  19-^1,  by  the  Museum  of  Fine  Arts,  Boston,  Mussachusetts 


[19] 


below,  in  the  corner  panels,  in  low  relief,  are  designs  of 
laurel  and  palm  about  a lyre  and  a vase. 

(15)  Classic  and  Romantic  Art.  Neither  the  subject  of 
this  decoration  nor  all  of  the  personages  are  derived  from 
tradition.  The  panel  pre.sents  a fancied  scene  of  judgment 
in  the  cloudland  of  mythology,  in  which  two  eternally  di- 
vergent currents  of  man’s  fancy,  in  the  persons  of  two 
mortals,  boy  and  girl  — the  one.  Romantic  Art.  inspired 
from  Earth  in  the  person  of  Pan,  the  other.  Classic  Art, 
from  Heaven  in  the  person  of  Athena  — submit  to  the 
arbitrament  of  the  intellect  in  the  person  of  Apollo.  The 
god  sits  on  a pedestal  supported  by  the  central  cloud.  He 
is  entirely  nude  and  has  thrown  one  leg  carelessly  over  the 
tripod  at  his  side,  emblem  of  his  oracidar  powers,  grasping 
the  edge  with  one  hand.  The  other  hand  rests  akimbo  on 
his  hip  and  holds  the  laurel  wreath  that  is  to  be  the  prize. 
Massive  and  ])rilliant  rays  spread  from  behind  his  head  to 
the  limits  of  the  scene  on  right  and  left.  At  his  feet  a white 
swan,  emblem  of  Music,  preens  its  snowy  wing. 

On  the  left,  the  boy,  also  entirely  nude,  stands  between 
the  shaggy  knees  of  Pan’s  enormous  figure  and,  holding 
his  lyre  under  his  right  arm,  pours  forth  his  song,  his  left 
arm  lifted  by  its  vehemence.  Beyond,  a leopard  lies 
among  pine  branches  and  stretches  a paw  over  Pan’s  knee. 
The  god,  pleased  at  the  sound,  has  put  down  his  shepherd’s 
pipe  and  rai-sed  his  head  to  listen.  He  has  a flat  face  like  a 
goat,  goat’s  horns  and  goat’s  feet,  but  above  the  waist  a 
human  form.  Beneath  his  figure  may  be  seen  fragments 
of  a curving  red  background  suggesting  the  earth.  Pan 
was  the  rustic  god,  the  divinity  of  out-of-doors,  and  a 
lover  of  music,  as  his  pipe  shows.  Athena  sits  opposite, 
putting  away  by  a gesture  of  one  hand  her  helmet,  shiekl, 
breastplate,  and  spear,  emblems  of  active  defense,  and 
with  the  other  hand  drawing  to  her  side  the  lovely  figure 
half  kneeling  on  the  cloud  before  her.  The  girl  gazes  up- 

[^20] 


Classic  and  Romantic  Art 


Copyright,  1921,  by  the  Museum  of  Fine  Arts,  Boston,  Massachusetts 


C‘21] 


ward  as  if  to  follow  the  flight  of  the  song  and  stretches  her 
hand  naively  toward  the  singer  as  if  to  arrest  it.  She  also 
carries  a lyre  and  presses  it  against  her  left  side. 

(IG)  The  Sphinx  and  the  Chiinaera.  In  this  decoration 
the  juxtaposition  of  the  two  familiar  figures,  one  a piece  of 
existing  sculpture,  the  other  a poetical  figment,  strongly 
emphasizes  the  chief  traditional  meaning  of  each.  The 
Sphinx  has  always  symbolized  My.stery  in  its  most  in- 
scrutable form;  the  Chiinaera,  the  Imagination  in  its  most 
extravagant  aspect. 

The  motive  of  the  panel  was  suggested  to  ^Ir.  Sargent 
by  a passage  at  the  end  of  La  Tentation  de  Saint  Antoine  by 
Gustave  Flaubert,  where  the  Unknown  and  the  Fancy  con- 
front one  another  before  Saint  Anthony  in  the  persons  of 
the  Sphinx  and  the  Chiinaera: 

Lc  Sphinx 

(’’est  que  je  garde  mon  secret:  je  songe  et  je  ealcule. 

La  mer  .se  retourne  dans  son  lit,  les  hies  se  balancent  sous 
le  vent,  les  caravanes  passe nt,  la  poussiere  s’envole,  les 
cites  s’eeroulent;  — et  mon  regard,  que  rien  ne  pent  devier, 
demeure  tendu  a t ravers  les  choses  sur  un  horizon  inacces- 
sible. 

La  Chi  mere 

Moi,  je  suis  legere  et  joyeuse!  Je  decouvre  aux  homines 
des  perspectives  eblouissantes  avec  des  paradis  dans  les 
images,  et  des  felicites  lointaines.  Je  leur  verse  a Tame  les 
eternelles  demences,  projets  de  lionheur,  plans  d’avenir, 
reves  de  gloire,  et  les  serments  d’amour  et  les  resolutions 
vert  Ileuses. 

Le  Sphinx 

()  Fantaisie,  emporte  moi  sur  tes  ailes,  pour  desennuyer 
ma  tristesse. 

La  Chimhre 

()  Inconnu,  je  suis  amoureuse  de  tes  yeux. 

The  Sphinx  of  Egypt,  long  in  itself  a mystery  but  now 
identified  as  a portrait  head  of  King  Chephren  carved  from 

[22] 


Sphinx  and  Chimaera 


Copyright,  19il,  by  the  Museum  of  Fine  Arts,  Boston,  Alassarhusptts 


[23] 


u cliff  before  his  pyramid  in  Giza,  was  a being  with  the  face 
of  a king  and  the  body  of  a recumbent  lion.  The  Sphinx  of 
(Greece  had  wings  and  the  head  of  a woman.  The  IVIuses 
taught  her  a riddle  and  those  that  conld  not  solve  it  she 
devoured,  until  (Edipus  gave  the  answer  and  the  Sphinx 
destroyed  herself.  The  renowned  figure  on  the  Nile,  an 
insoluble  riddle  to  anticpiity,  was  doubtless  the  .source  of 
the  Greek  story.  In  the  present  decoration  the  Sphinx  has 
comely,  vivid  features,  lacking  at  once  the  passivity  of  a 
Zeus,  the  smile  of  a Buddha,  and  the  warmth  of  a Christian 
ideal.  The  face  is  so  hewn  upon  a massive  block  that  it 
turns  upward  toward  the  Chimaera  hovering  close  as  if  to 
catch  its  faintest  breath.  There  are  suggestions  of  the  real 
Sphinx  in  the  type  of  countenance,  in  the  hood  about  it, 
in  the  |)yramidal  shape  of  the  block,  and  in  the  claws  and 
mighty  foreleg. 

According  to  Homer,  the  ('himaera  was  a fire-breathing 
monster  with  a lion's  head,  a goat’s  body,  and  a serpent’s 
tail;  and  doubtless  it  became  an  emblem  of  unbridled 
invention  because  of  this  fanta.stic  combination  of  forms. 
The  Chimaera  of  the  present  decoration  is  a woman  per- 
fect in  form  and  face,  and  with  abundant  streaming  hair, 
who  in  place  of  arms  has  only  magnificent  wings,  now  con- 
torted and  flame-like  in  a swirling  flight  that  has  also  torn 
her  ankle  chains  asunder. 

Above  the  frame,  is  a wreath  of  laurel  in  high  relief  en- 
twined with  palm  leaves;  below,  is  a cartouche  with  the 
title  of  the  picture;  in  the  corner  panels,  in  low  relief,  are 
designs  of  laurel  and  j)alm  about  a lyre  and  a vase. 

October,  1922 


[24] 


I'NVEiLED  October  "20,  1921 


Copyr'iKht,  19il,  by  the  Museum  of  Fine  Arts,  Boston,  Massnehusetts 


[25] 


Group  Crowning  the  Panel  of  Prometheus 


